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Quest for Wholeness: D QUEST FOR WHOLENESS: D. H. LAWRENCE'S SHORTER FICTION fey Keith William Fraser B. A., University of British Columbia, 1966 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in the Department of English We accept this thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA October, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thes.is for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver 8, Canada ABSTRACT That one narrows the critically popular quest theme to one of wholeness does not axiomatically assure a tapered, pertinent monograph. For that reason I have taken some care to construct my approach to D. H. Lawrence's shorter fiction with three chapters which canalize Setting, Structure, and Imagery toward this quest for wholeness. And to attenuate further, the three essays which connect with each of these are titled "Landscape and Point of View," "The Whole Story,"1 and "Triangle Versus the Individual Consciousness." In the case of the first and last, I use two of Law• rence's own essays to kindle the examinations of certain short stories and novellas. Chapter I endeavors to relate the apparent influence of post-Impressionist painting on the writer's creation of landscape, and to illustrate how closely point of view allies itself with setting in the character quest for wholeness. The third chapter recognizes the difference between structural and concrete Imagery, then uses the triangle image as an example of the first kind to show how this image remains antithetical to Lawrence's idea of the individual consciousness—for him the epitome of wholeness. The middle chapter attempts to locate a unique con- ii tribution by Lawrence to the short story art of the twen• tieth century, and to demonstrate successful and unsuccess• ful quests by characters who attain archetypal scope which lifts them beyond the more naturalistic figures in the author's other shorter fiction© Of course, character success or lack of it in the search for wholeness remains the purpose in the discussion of each story, regardless of chapter. And what the Intro• duction does, in part, is define the nature of that whole• ness as relates to Lawrence's polemic essays; for the rest, it reviews evaluation of the shorter fiction by the critics. CONTENTS Chapter Page INTRODUCTION I. On Wholeness 1 II. The Critics ^ FOOTNOTES 8 I. SETTING Landscape and Point of View 10 FOOTNOTES l\S II. STRUCTURE The Whole Story 5l I. The Unsuccessful Quest 51+ II. The Successful Quest 81i FOOTNOTES 93 III. IMAGERY Triangle Versus the Individual Consciousness 95 FOOTNOTES 120 CONCLUSION 121 SELECTED BIBLIOGRAPHY 122 INTRODUCTION I On Wholeness A few weeks ago I received a letter from a Canadian short story writer of some reputation, who said he used to read Lawrence as a night watchman in a Nova Scotia sawmill in the middle of winter. And later when he visited Eastwood where the author was born, he surprised himself by supplying directions for another visitor after a mere fifteen minutes in town: it seems he knew the village instinctively, as a result of Lawrence's superb ability to render setting in his fiction. Pew writers in this century have evoked accuracy of place with the passion and delicacy of Lawrence. This "spirit" (as he called it) includes villages and chrysanthemums, farms and haystacks, mountains and glaciers. In his shorter fiction, as in his novels, he continually underscores the natural world in an effort to balance the duality of modern existence. For him, the twentieth century stressed the mechanical over the spontaneous, the intellectual over the instinctive, and the social over the individual consciousness. Such dualities, of course, saturate his fiction, so that any study of Lawrence must eventually turn to the search by his characters for a resolution of these polarities. And wholeness, or harmony 2 with the natural universe, becomes synonymous with their quest for this resolution. In almost all his polemic essays, Lawrence repeatedly advocates a new fulcrum for the lopsided human equilibrium. Because he ultimately favors in these debates, the "fullness 1 of being** (Fantasia of the Unconscious )f I have found certain of them important in my own essays which follow. His brief 2 "The Individual Consciousness v. The Social Consciousness," for instance, seems a kernel essay for both an understanding and rationale of the quest theme. Here the individual con• sciousness—actually the condition of wholeness—presupposes "one living continuum with all the universe," where there ap• pears no "cleavage" between subjective consciousness (me) and objective consciousness (you or it), rather a unity of self that embraces "naivete* ... innocence ... at-oness.'" But when the cleavage does occur social consciousness results—the principal representative of "the condition of the modern consciousness"—in effect a condition responsible for the unbalance and contrivance in an unnatural world. This social consciousness, contends Lawrence, occurs in one of two ways. The first is the old way of greed or selfishness, when the "me" wants to swallow the "you" and put an end to the continuum that way. The other is the way of nega• tion, when the "I" wants to lapse out into the "you" or the "it," and so end all responsibility of keeping up one's own bright nuclear cell alive in the tissue of the universe. In either way, there is a lapse - from innocence and a fall into the state of vanity, ugly vanity. It is a vanity of positive tyranny, or 3 a vanity of negative tyranny. The old villains-in*. the-piece fell into the vanity of positive tyranny, the new villains-in-the-peace, who are still called saints and holy persons, or at worst, God's fools, are squirming in the vanity of negative tyranny. They won't leave the continuum alone. They insist on passing out into it. Which is as bad as if the eye should insist on merging itself into a oneness with the nose. For we are none of us more than a cell in the eye-tissue, or a cell in the nose-tissue or the heart-tissue of the macrocosm, the universe. Finally,"art ... is the revelation of the continuum itself, the very nuclear glimmer of the naive individual." Therefore (if we may interpolate), when wholeness prevails synonymously with this continuum or individual consciousness, then an under• standing of Lawrence's art rests fundamentally upon a comprehen• sion of that wholeness. In Apocalypsef Lawrence writes that "what man most pas• sionately wants is his living wholeness and his living unison, not his own isolate salvation of his 'soul'." Hence a relig• ion which keeps man away from "his physical fulfilment" remains pernicious to the human need for "connection with the cosmos, with the world, with mankind, with the nation, with the family." Thus the quest for wholeness is a search for a new religion, one necessarily empirical in its nature; consequently my own aesthetic theories grapple with characters who both succeed and fail to discover this spirituality in the natural world. The first chapter moves directly into a consideration of such a world where Lawrence often creates landscape in a typ• ically post-Impressionist fashion, a technique seriously neglected by critics of his shorter fiction. The last two chapters also take account of this world, although under• standably the examination of Structure and Imagery are not so directly related to it as Setting. Chapter II delineates the extent to which Lawrence resorts to traditional structures and archetypal characters for his shorter fiction, while the final essay correlates a number of stories and novellas in terms of the triangular structural image, which few critics have recognized as operating so extensively. Of course, none of the chapters are independents each adheres to the quest theme, and stories of one chapter are sometimes discussed in another when these gain by such a doubling-up. II The Critics But why the shorter fiction instead of the novels? For one thing, Lawrence wrote over fifteen hundred pages of stories and novellas, enough claims Leavis, to locate him "among the great writers—not merely among the memorable, k but among the great." If this is true, Leavis1 single chapter devoted to the tales rather mocks his own assertion, 5 6 7 as do other gratuitous nods by Hough, Moynahan, and Draper. 8 9 10 At least Tedlock, Ford, and Sagar, attempt to interrelate the shorter fiction and novels, thus inferring a balanced ap• proach to Lawrence's fictional oeuvre. Yet only Kingsley W/id- 11 mer has devoted an entire book to the shorter fiction alone. 5 One of the earliest considerations of Lawrence's shorter fiction was made by H. E. Bates, one which sums up a wide• spread attitude to the stories. In them Lawrence had no time to preach, to lose his temper, to go mystical, or to persuade the reader to listen to him by the doubtful process of shouting at the top of his voice and finally kicking him down• stairs. Lawrence is for once bound to say what he has to say within reasonable, and even strict, limits of time and space. Ordinarily dictatorial, Lawrence is here dictated to by the form he has chosen.
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